


The Final Problem: The Editor's Cut

by foryouandbits



Category: Sherlock (TV)
Genre: Fix-It, I essentially rewrote TFP to make sense, Screenplay/Script Format
Language: English
Status: Completed
Published: 2017-01-22
Updated: 2017-01-22
Packaged: 2018-09-19 07:16:59
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 3
Words: 11,677
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/9425195
Author URL: https://archiveofourown.org/users/foryouandbits/pseuds/foryouandbits
Summary: A fix-it screenplay of how Series Four, Episode Three could have gone, answering some of the unanswered questions and removing some of the larger plot holes and hard-to-believe story lines. A lot of it is roughly the same.





	1. Act One

**Author's Note:**

  * For [lifeonmars](https://archiveofourown.org/users/lifeonmars/gifts).



> Full disclosure: [lifeonmars](http://archiveofourown.org/users/lifeonmars) posted her Editor's cut [on tumblr](http://marsdaydream.tumblr.com/post/155957252012/tfp-the-editors-cut) and I just ran with her ideas. 
> 
> This is posted with her permission, but all of the credit of this really needs to go to her.

1\. INT. THERAPIST'S HOUSE. DAY.

CLOSE ON:

The barrel of a gun.

CLOSE ON:

JOHN's face, staring down the barrel of the gun.

 

 

EURUS  
Huh, it's making a funny face. I think I'll put a hole in it.

 

JOHN backs off quickly but hits the glass of the door. The shot returns to the gun; the barrel fires, the screen turns red. JOHN, having backed up into the glass of the door, feels the impact through his shoulder – his OTHER shoulder – and hears the bullet pierce the glass of the door. He slides down onto the floor, grimacing, then falls onto his side. Blood streams out of his shoulder and into the carpet, a perfect match.

 

DISSOLVE TO:

 

2\. CREDITS

 

3\. INT. THERAPIST'S HOUSE. DAY

 

SHERLOCK flings open the front door of the house. He peers through the hallway and sees a figure against the glass doors. He rushes through the house to find JOHN passed out against the floor.

 

 

SHERLOCK  
John! John, wake up!

 

JOHN does not wake. SHERLOCK takes off his scarf and pushes it into JOHN'S wound. The pain rouses JOHN, who groans.

 

 

JOHN  
Sister…

 

SHERLOCK  
Don't speak, I'm calling an ambulance.

 

SHERLOCK pulls out his phone and dials.

 

 

JOHN  
Eurus. East Wind. You have a sister.

 

SHERLOCK  
What?

 

JOHN passes out again.

 

4\. INT. BARTS HOSPITAL - PATIENT ROOM. NIGHT

 

SHERLOCK sits at JOHN's side, looking down at the floor, defeated, waiting. MYCROFT stands by the door with his umbrella, rigid and impassive as always. LESTRADE enters.

 

 

LESTRADE  
Any change?

 

SHERLOCK shakes his head.

 

 

LESTRADE  
We swept the house, found the body of the woman who lived there stuffed in a sack. No sign of the imposter therapist.

 

MYCROFT  
Thank you, I will take it from here.

 

LESTRADE  
A woman was murdered in her own home.

 

MYCROFT  
I'll take it from here.

 

LESTRADE looks at SHERLOCK for confirmation. SHERLOCK nods.

 

 

SHERLOCK  
Thank you, Greg.

 

LESTRADE stares but then exits. JOHN slowly rouses and looks at SHERLOCK, who is now attentive.

 

 

SHERLOCK  
John.

 

JOHN  
Sherlock. Sherlock! Sherlock, you have a sister.

 

SHERLOCK  
You said so before. What makes you think I have a sister?

 

JOHN  
Mycroft. You said it, it wasn't like this with the other one.

 

SHERLOCK looks at MYCROFT, who is more rigid, if that is possible.

 

 

SHERLOCK  
What did you say, Mycroft, exactly? Do I have a sister?

 

MYCROFT  
Not here. Dr. Watson, I've spoken to your attendants; you did lose a considerable amount of blood from your wound but it won't be much different from the other – you should be released in no time at all. Now if this is all settled –

SHERLOCK  
Nothing is settled.

JOHN  
Look at you. You're terrified.

MYCROFT  
I will see you at 221B when John is released.

JOHN  
If there's a queue, be sure to join it.

5\. INT. 221B BAKER STREET – LIVING ROOM. DAY

JOHN is sat in his chair, fully dressed with his right arm in a sling. He has a pen in his left hand and a notebook on the arm of his chair. SHERLOCK, dressed in his usual navy suit, sits across from him. The client chair is empty but next to it, with his umbrella, stands MYCROFT. MRS. HUDSON stands smugly in the doorway, watching on.

 

 

MRS. HUDSON  
You have to sit in the chair. They won't talk to you if you don't sit in the chair.

 

MYCROFT  
I'm not a client.

 

JOHN  
Yes you are.

 

MYCROFT rolls his eyes but sits in the chair. JOHN presses pen to paper.

 

 

MYCROFT  
She's not going to stand there the whole time, is she?

 

SHERLOCK nods to MRS. HUDSON.

 

 

MRS. HUDSON  
Would you like a cup of tea?

 

MYCROFT  
Yes, please.

 

MRS. HUDSON  
The kettle's over there.

 

MRS. HUDSON exits.

 

 

JOHN  
Explain.

 

MYCROFT  
This is a very delicate situation, Dr. Watson.

 

JOHN  
You said there was another one. You told me there was another sibling but didn't warn me she was a bloody psychopath who would murder my new therapist and attempt to shoot me in the face. I think it's gone beyond delicate. Tell the truth – pure and simple.

 

MYCROFT  
Who was it that said, "The truth is rarely pure and never simple?"

 

SHERLOCK  
I don't know and I don't care. So there were three of us. I know that now. You, me and Eurus. A sister I can't remember. Interesting name, Eurus. Greek, isn't it?

 

JOHN  
Literally the god of the East Wind.

 

SHERLOCK  
Yes. "The East Wind is coming, Sherlock." You used that to scare me.

 

MYCROFT  
No.

 

SHERLOCK  
You turned my sister into a ghost story.

 

MYCROFT  
Of course I didn't, I monitored you. You've deleted memories before, Sherlock, rewired your hard drive. Dr. Watson has said it himself – "In so many ways, he's the cleverest person I've ever met but there are these blank spots that are almost terrifying." If it's not integral to your hard drive, it's not worth remembering. But it's not foolproof. Memories can resurface. Wounds can reopen. The roads we walk have demons beneath, and yours have been waiting for a very long time. I never bullied you. I used, at discreet intervals, potential trigger words to update myself on your mental condition. I was looking after you.

 

SHERLOCK  
To see if I'd remember my sister after I deleted her. Why would I need to delete an entire person out of my life?

 

MYCROFT looks at JOHN.

 

 

MYCROFT  
This is a private matter.

 

SHERLOCK  
John stays.

 

MYCROFT  
This is family.

 

SHERLOCK  
That's WHY HE STAYS.

 

JOHN  
So there were three of you. What was the age gap?

 

MYCROFT  
Seven years between myself and Sherlock, one year between Sherlock and Eurus.

 

JOHN  
Middle child. Explains a lot. So, did she have it too?

 

MYCROFT  
Have what?

 

JOHN  
The deduction thing.

 

MYCROFT  
"The deduction thing?"

 

JOHN  
Yes.

 

MYCROFT  
More than you can know.

 

JOHN  
Enlighten me.

 

MYCROFT  
You realize I'm the smart one.

 

SHERLOCK  
As you never cease to announce.

 

MYCROFT  
But Eurus, she was incandescent, even then. Our abilities were assessed more than once. I was remarkable, but Eurus was described as an era-defining genius beyond Newton.

 

SHERLOCK  
Then why was she not important enough to remember?

 

MYCROFT  
You do remember her, in a way. Every choice you ever made, every path you've ever taken, the man you are today, is your memory of Eurus.

 

MYCROFT looks at his hand; there is a pebble in it.

 

6\. EXT. MUSGRAVE MANOR - SHORELINE. DAY

 

MYCROFT stands on a pebble beach, the same pebble in his hand. A dog barks in the distance. Camera pans out to show 6-YO EURUS, 7-YO SHERLOCK, and REDBEARD the Irish Setter playing in the shore. EURUS has a plush toy car in her hands; SHERLOCK wears a pirate hat and a handkerchief that matches the one on REDBEARD's neck. 14-YO PUDGY MYCROFT stands on an outcrop of rocks and throws pebbles into the water.

 

MYCROFT (V.O.)  
She was different from the beginning. She knew things she should never have known. She could pick up truths beyond the normal scope of a human, beyond the scope of you or I, Sherlock.

 

7\. INT. BAKER STREET. DAY

 

MYCROFT opens his hand and the pebble is still there.

 

MYCROFT  
She knew things that were unsettling.

 

8\. EXT. MUSGRAVE MANOR - SHORELINE. DAY

 

6-YO EURUS looks to the camera.

6-YO EURUS  
You look funny grown up.

 

9\. INT. BAKER STREET. DAY

 

MYCROFT looks alarmed.

 

JOHN  
What's wrong?

 

MYCROFT  
Sorry. The memories are disturbing.

 

SHERLOCK  
What do you mean? Examples.

 

MYCROFT  
They found her with a knife once. She seemed to be cutting herself. Mother and Father were terrified, they thought it was a suicide attempt. At the hospital after they'd bandaged her up, I asked what she had been doing. She said:

 

6-YO EURUS  
I wanted to see how my muscles worked.

 

JOHN  
Jesus!

 

MYCROFT  
So I asked her if she felt pain, and she said:

 

6-YO EURUS  
Which one's pain?

 

SHERLOCK  
Then what happened?

 

10\. EXT. MUSGRAVE MANOR. DAY

 

MYCROFT stands in front of the family home, JOHN and SHERLOCK flanking him.

 

MYCROFT  
Musgrave. The ancestral home, where there was always honey for tea and Sherlock played among the funny gravestones.

 

JOHN  
Funny how?

 

MRS. HOLMES (V.O.)  
Come on, you lot!

 

7-YO SHERLOCK is sitting amongst a fake graveyard, still wearing his pirate gear, REDBEARD next to him. They run inside.

 

MYCROFT  
They weren't real. The dates were all wrong. An architectural joke which fascinated Sherlock.

 

6-YO EURUS (SINGING)  
_I that am lost, oh, who will find me -_

 

11\. INT. MUSGRAVE MANOR – KITCHEN. DAY

 

The family is having lunch at the table. 6-YO EURUS is singing at 7-YO SHERLOCK, who sits across from her.

 

6-YO EURUS (SINGING)  
_\- Deep down below the old beech tree -_

12\. INT. BAKER STREET. DAY

 

The song continues as SHERLOCK speaks with it:

SHERLOCK  
Help succor me now the –

 

MYCROFT  
East winds blow.

 

SHERLOCK  
Sixteen by six.

 

MYCROFT  
And under we go. You're starting to remember.

 

SHERLOCK  
Fragments.

 

13\. EXT. MUSGRAVE MANOR. DAY

 

JOHN, SHERLOCK, and MYCROFT stand in front of the house again. 7-YO SHERLOCK comes running by, shouting.

 

7-YO SHERLOCK  
Redbeard! Redbeard!

 

JOHN  
Redbeard?

 

SHERLOCK  
He was my dog.

 

MYCROFT  
Eurus took Redbeard and locked him up. Somewhere no one could find him and she refused to say where he was.

 

7-YO SHERLOCK runs off, still shouting and searching.

 

14\. INT. BAKER STREET. DAY

 

MYCROFT  
She's only sing her song. Her little ritual. We begged and begged her to tell us where he was, but she said.

 

6-YO EURUS (V.O.)  
The song is the answer.

 

MYCROFT  
But the song made no sense.

 

SHERLOCK  
What happened to Redbeard?

 

MYCROFT  
We never found him, but she started calling him "drowned Redbeard," so we made our assumptions. Sherlock was traumatized – natural, I suppose. He was, in the early days, an emotional child, but after that he was different. So changed, never spoke of it again, completely erased the memory of Redbeard from his mind, and in time he also seemed to forget even that Eurus existed.

 

JOHN  
How could he forget? They were living in the same house?

 

MYCROFT  
No. They took her away.

 

JOHN  
Why? You don't lock up a child because a dog goes missing.

 

MYCROFT  
Quite so. Uncle Rudi took her to a place – some suitable place, or so we thought.

 

SHERLOCK  
What happened?

 

MYCROFT  
She started a fire there, one she did not survive.

 

SHERLOCK  
This is a lie.

 

MYCROFT  
Yes. It is also a kindness. This is the story Uncle Rudi told us to spare our parents further pain and to account for the absence of an identifiable body.

 

SHERLOCK  
And to no doubt prevent their further interference.

 

MYCROFT  
Well that too, of course. The depth of Eurus's psychosis and the extent of her abilities couldn't hope to be contained in any ordinary institution.

 

SHERLOCK  
Where is she, Mycroft? Where's our sister?

 

MYCROFT  
After I began my position I contacted Uncle Rudi – he explained to me the truth. There's a place called Sherrinford. An island. It's a secure and very secret installation whose sole purpose to contain what we call the uncontainables. The demons under the road? This is where we trap them. Sherrinford is more than a prison or an asylum. It a fortress built to keep the rest of the world safe from what is inside it. Heaven may be a fantasy for the incredulous and afraid, but I can give you a map reference for hell. That's where our sister has been since early childhood. She hasn't left, not for a single day. Whoever you both met, it can't have been her.

 

There is a crash off screen, drawing their attention. A drone flies in from SHERLOCK'S bedroom, a grenade attached to it. The three of them stand up and back away, JOHN and SHERLOCK near SHERLOCK's chair, MYCROFT near the door to the stairs. There is singing coming from the drone as is approaches.

 

EURUS'S VOICE (SINGING)  
_I that am lost, oh who will find me, deep down below the old beech tree. Help succor me now the east winds blow, sixteen by six, brother and under we go._

 

MYCROFT  
Keep back! Keep as still as you can.

 

JOHN  
What is it?

 

SHERLOCK  
It's a drone.

 

JOHN  
Yeah, I can see that. What's it carrying?

 

MYCROFT  
It's a DX-707. I've authorized the purchase of quite a number of these. Colloquially it's known as the patience grenade.

 

The drone lands on the floor in between all of them; a light emerges from the top.

 

MYCROFT  
The motion sensor has been activated. If any of us move, the grenade will detonate.

 

SHERLOCK  
How powerful?

 

MYCROFT  
It will certainly destroy this room, the kitchen, and anyone in it. Assuming your walls are of a reasonable strength your neighbors should be safe, but as it's landed on the floor, I am moved to wonder if the café below is open.

 

SHERLOCK  
It's Sunday morning, so it's closed.

 

JOHN  
What about Mrs. Hudson?

 

15\. INT. 221A BAKER STREET – KITCHEN. DAY

 

The camera pans down to MRS. HUDSON, vacuuming directly below and dancing with headphones on.

 

16\. INT. BAKER STREET. DAY

SHERLOCK  
Going by her usual routine, I estimate she has another two minutes left.

 

JOHN  
She keeps the vacuum cleaner at the back of the flat.

 

MYCROFT  
So?

 

JOHN  
It's safer there, where she's putting it away, but we have to move eventually and we should do it when she's safest.

 

SHERLOCK  
When the vacuum stops, we give her eight seconds to get to the back of the flat. She's fast when she's cleaning. Then we move. What's the trigger response time?

 

MYCROFT  
We have a maximum of three seconds to vacate the blast radius.

 

SHERLOCK  
John and I will take the window, you take the stairs. Help get Mrs. Hudson out.

 

MYCROFT  
Me?

 

SHERLOCK  
John's shoulder. He'll need someone to break his fall. Still believe Eurus is secure at Sherrinford?

 

JOHN  
That was definitely her voice. Eurus's voice.

 

MYCROFT  
She can't have gotten out without help.

 

JOHN  
Mrs. Hudson. She's further away now.

 

SHERLOCK  
I estimate we have a minute left. Is a phone call possible?

 

MYCROFT  
Phone call?

 

SHERLOCK  
John has a daughter. He might wish to say goodbye – just in case. Maximum of three seconds.

 

MYCROFT  
I'm sorry, Dr. Watson. Any movement will trigger the blast. I'm sure you understand.

 

JOHN  
Oscar Wilde.

 

MYCROFT  
What?

 

JOHN  
He said, "The truth is rarely pure and never simple." In the Importance of Being Earnest. We did it at school.

 

MYCROFT  
Ah, yes, so we did we now that I recall. I was Lady Bracknell.

 

SHERLOCK  
Yeah. You were great.

 

MYCROFT  
You really think so?

 

SHERLOCK  
Yes, I really do.

 

MYCROFT  
Well, that's good to know.

 

The sound of the vacuum turns off. They look at each other, nod, and then:

 

SHERLOCK  
Three, two, one.

 

SHERLOCK grabs hold of JOHN, who winces at the contact with his shoulder. SHERLOCK dives backward out the window, JOHN on top of him. MYCROFT dives into the stairwell. The blast of the grenade alights fire to the most iconic pieces of the flat: the mantel with stabbed post and the mirror, the chairs, and finally, the cow's skull with headphones.

 

17\. EXT. BAKER STREET. DAY

 

SHERLOCK lands on his back on the pavement, JOHN atop him, as the smoke billows out the window and into the sky. JOHN rolls off SHERLOCK and onto his back; they both looks up at the smoke. Both are in tatters, cut up and bloody, their clothes torn from the blast. There is no sound apart from a loud tinnitus consuming all the normal noises of London.

 

JOHN (SOUNDLESSLY)  
Sherlock – are you all right? Sherlock?

 

SHERLOCK is conscious but woozy. His eyes open and he immediately looks for JOHN.

 

SHERLOCK (SOUNDLESSLY)  
John? Your shoulder?

 

JOHN attempts to roll back to SHERLOCK, to check him, but grimaces wildly and instead settles for pinching the sleeve of SHERLOCK'S suit between his fingers. SHERLOCK is satisfied – they lay back and look up at their home.

 

DISSOLVE TO:


	2. Act Two

18\. INT. BOAT HULL. DAY

 

There is a storm outside the boat hull. Two SHIPMATES are inside wearing yellow rubber ponchos. One is a seasoned, grizzly man who is clearly the boss of the two; the other is young, just entering the hull of the boat from the deck, seasick.

 

RADIO (V.O.)  
And now the shipping forecast issued by the Met Office on behalf of the Maritime Coast Guard Agency at 05.05. Thames. Dover.

 

MATE #1  
Go on mate, get it up. Better out than in.

 

MATE #2  
Is it always like this?

 

MATE #1  
No.

 

MATE #2  
Oh, thank God.

 

MATE #1  
Usually it's worse.

 

MATE #2  
Oh god. I might go and work at a bank. Is that a helicopter?

 

MATE #1  
No, not in this weather.

 

RADIO  
Shannon. Malin. Sherrinford. Sherrinford. Sherrinford.

 

MATE #2  
Did you hear that? I've never heard that one before. Sherrinford?

 

MATE #1  
Forget you ever heard it.

 

MATE #2  
What?

 

MATE #1  
Sometimes when we're out on these waters, we get that message. Just forget about it.

 

MATE #2  
But we've never –

 

MATE #1  
Just – zip it.

 

There is a THUD on the top of the hull. Both look up and quickly exit to the deck.

 

19\. EXT. BOAT. DAY

 

The MATES look up to the top of the hull, where SHERLOCK stands in his majestic cloak, his hair blowing in the wind, but his face still torn in places from the explosion.

 

MATE #1  
Who the hell are you?

 

SHERLOCK  
The name's Sherlock Holmes.

 

MATE #2  
The detective?

 

SHERLOCK  
No, the pirate.

 

JOHN appears, also cut up, his arm in a new sling, and points the gun at the MATES. They raise their hands.

 

20\. INT. SHERRINFORD COMMAND. DAY

 

A RADIO OPERATOR sits at the command desk in front of a radar of the Sherrinford base and surrounding waters.

 

RADIO OPERATOR  
Gulf Whisky X-Ray, this is a restricted area. Repeat, restricted area. You are off course. Are you receiving? Golf Whiskey X-Ray, you are off course. Are you receiving?

 

MATE #2 (ON RADIO)  
We are receiving you. This is a distress call, repeat distress call. We're in trouble here.

 

RADIO OPERATOR  
Golf Whisky X-Ray, what is your situation? Golf Whisky X-Ray, where are you now?

 

MATE #2  
We're headed for the rocks. We're going to hit!

 

The RADIO OPERATOR sounds the alarm.

 

RADIO OPERATOR  
Governor to the control room.

 

LANNOY (V.O.)  
Lockdown in progress. Lockdown in progress. Please proceed to the designated red sections.

 

ARMED GUARDS make their way through the halls of Sherrinford in groups as red alarms flash. The sirens wail until:

 

21\. EXT. SHERRINFORD. DAY

 

The ARMED GUARDS locate MATE #1 and MATE #2 tied together on the beach.

 

MATE #2  
No, no, no, wait!

 

GUARD  
In the sand. In the sand!

 

The camera pans out to the message in the sand: TELL MY SISTER I'M HERE

 

22\. INT. SHERRINFORD. DAY

 

The GOVERNOR leaves a glass conference room, talking on his phone.

 

GOVERNOR  
Get me through to Mycroft.

 

GOVERNMENT BIGWIG  
He's in hospital. There was an explosion.

 

GOVERNOR  
Put me through to the hospital.

 

GOVERNMENT BIGWIG  
He's not conscious. He's severely injured. No one is even confident he's going to pull through.

 

GOVERNOR  
Where's his brother? Where's Sherlock Holmes?

 

GOVERNMENT BIGWIG  
Missing.

 

GOVERNOR  
No he's not, he's here!

 

The GOVERNOR approaches the command console.

 

COMMAND CONSOLE WOMAN  
Sir, we found two more from the boat.

 

The GOVERNOR looks at the shot on screen; one of the two is clearly JOHN, the other is another old man with a beard and hat, wearing yellow rubber overalls.

 

MYCROFT AS OLD MAN  
He stole our boat! Him and another fella, with guns!

 

GOVERNOR  
Where did you find them?

 

SHERLOCK AS GUARD (V.O.)  
North side of the island, sir.

 

GOVERNOR.  
Holding cell, now!

 

SHERLOCK AS GUARD (V.O.)  
Right, sir!

 

23\. INT. SHERRINFORD – HOLDING CELL. DAY.

 

JOHN and MYCROFT AS OLD MAN sit at the table. SHERLOCK AS GUARD stands near the door when the GOVERNOR enters.

 

MYCROFT AS OLD MAN  
This is a mistake! I'm the victim here, this man stole my boat! He's a pirate.

 

JOHN  
Yeah, I really am.

 

GOVERNOR  
Please, sit down.

 

MYCROFT AS OLD MAN  
I don't even know who he is!

 

GOVERNOR  
He's Doctor John Watson, formally of the Fifth Northumberland Fusiliers. What are you doing here?

 

JOHN  
It's a hospital. Any work?

 

GOVERNOR  
It's not a hospital. I want eyes on Eurus Holmes. Go straight to the special unit. Deploy Green and Yellow shift on my authority.

 

SHERLOCK AS GUARD  
Sir.

 

The GOVERNOR hands SHERLOCK AS GUARD his keycard. SHERLOCK AS GUARD exits the holding cell.

 

GOVERNOR  
I'm sparing your blushes because we're supposed to be on the same side and frankly, this is embarrassing.

 

JOHN  
Oh, going to do a cavity search.

 

GOVERNOR  
The true art of disguise, according to your famous friend, is not being looked at. But I am looking at you, aren't I, Mr. Holmes?

 

MYCROFT AS OLD MAN  
Yes you are.

 

JOHN  
But that is sort of the point, isn't it? See, you should have been looking at the guy you just gave your pass to.

 

MYCROFT AS OLD MAN removes his disguise and smiles at the Governor.

 

24\. INT. SHERRINFORD HALLS. DAY

 

SHERLOCK AS GUARD travels to EURUS'S CELL. His gait and posture are different and makes it through with no problem. He is stopped, hands over his gun to another guard, and then let into the elevator.

 

25\. INT. SHERRINFORD – HOLDING CELL. DAY

 

MYCROFT is back in his normal suit and is adjusting his hair in the mirror.

 

MYCROFT  
That's the trouble with uniforms and name badges, people stop looking at faces. You'd be better off with clown outfits. At least they'd be satirically relevant.

 

JOHN  
Oh, you'll find Landers on the north shore, tied up with two others.

 

GOVERNOR  
Two others?

 

JOHN  
Yeah, well it was trial and error. We had to find the right waistband.

 

GOVERNOR  
This is insane. This is unnecessary.

 

JOHN  
No, your security is compromised and we don't know who to trust.

 

GOVERNOR  
And that justifies dressing up?

 

MYCROFT  
Yes it does! It justifies dressing up or any damn thing I say it does! Now listen to me, for your own physical safety, do not speak, do not indulge of any non-verbal signal suggestive of internal thought. If the safety of my sister is compromised, if the security of my sister is compromised, if the incarceration of my sister is compromised, in short if I find any indication my sister has left this island at any time, I swear to you, you will not. Say thank you to Dr. Watson.

 

GOVERNOR  
Why?

 

MYCROFT  
He talked me out of Lady Bracknell. This could have been very different. Are you in?

 

26\. INT. SHERRINFORD – ELEVATOR. DAY

 

SHERLOCK, posture normal, stands in the elevator. He removes the guard's hat and adjusts his curls with his hands.

 

SHERLOCK  
Yes, I'm in the elevator to her secure unit. Explain.

 

MYCROFT (V.O.)  
Prison within a prison. Eurus must be allowed the strict minimum of human interaction.

 

SHERLOCK  
Why?

 

MYCROFT (V.O.)  
Since you're determined to meet her, you're about to find out.

 

27\. INT. SHERRINFORD – HOLDING CELL. DAY

 

MYCROFT turns back to the GOVERNOR.

 

MYCROFT  
Tell me yes or no, has there ever been, against my express instructions, any attempt at a psychiatric evaluation of Eurus Holmes?

 

GOVERNOR  
Yes.

 

MYCROFT  
I assume the tapes are in my office?

 

MYCROFT opens the cell door and begins to leave.

 

GOVERNOR  
Your office?

 

MYCROFT  
Cast your mind back. It used to be yours.

 

28\. INT. SHERRINFORD – EURUS'S CELL. DAY.

 

EURUS is facing away from the elevator, playing the violin, which is audible via speakers. She is in a large cell with glass facing the visiting area with notifications such as MAINTAIN DISTANCE OF THREE FEET; it's barren, a twin-sized bed, sink and toilet. The lighting is slightly green. SHERLOCK steps out of the elevator and EURUS stops playing.

 

There is a pause, and then she begins to play the familiar song.

 

29\. EXT. MUSGRAVE MANOR – SHORELINE. DAY.

 

7-YO SHERLOCK with boots trudges through the water with REDBEARD.

 

30\. INT. SHERRINFORD – MYCROFT'S OFFICE. DAY.

 

The television plays four-quadrant security footage of an interview with EURUS, sitting on a white carpet in a room alone. The date on the footage clearly shows 2012 – four years previous, and prior to the events of The Reichenbach Fall.

 

EURUS  
Why am I here?

 

MAN (V.O.)  
Why do you think you're here?

 

EURUS  
No one ever tells me.

 

31\. INT. SHERRINFORD – EURUS'S CELL. DAY

 

SHERLOCK steps closer and EURUS's playing becomes erratic until he steps back.

 

32\. INT. SHERRINFORD – MYCROFT'S OFFICE. DAY

 

In the footage, EURUS is looking down.

 

EURUS  
Am I being punished?

 

MAN (V.O.)  
Have you been bad?

 

EURUS  
There's no such thing as bad.

 

MAN (V.O.)  
What about good?

 

EURUS  
Good and bad are fairy tales. We have evolved to attach an emotional significance to what is nothing more than the survival strategy of the pack animal. We are conditioned to invest divinity in utility. Good isn't really good. Evil isn't really wrong. Bottoms aren't really pretty. You are a prisoner of your own meat.

 

MAN (V.O.)  
Why aren't you?

 

EURUS looks up for the first time.

 

EURUS  
I'm too clever.

 

33\. INT. SHERRINGFORD – EURUS'S CELL. DAY

 

EURUS stops playing and turns around. SHERLOCK holds up FAITH SMITH'S note.

 

EURUS  
Did you miss me?

 

SHERLOCK  
How did you do this? How did you know what to write?

 

EURUS  
So you didn't miss me? We had a wonderful night together. The chips were amazing. It's like when we were children and I would follow you around. Do you remember when they took me away?

 

SHERLOCK  
How did you get out?

 

EURUS  
Look at me.

 

SHERLOCK  
I am looking at you.

 

EURUS  
You don't see it. Everything you need to know is in front of your face. What did I ask you to bring me when you saw me again?

 

SHERLOCK  
Eurus, I don't remember you at all.

 

EURUS  
Interesting. Mycroft told me you'd rewritten your memories, but he didn't tell me you wrote me out completely. I wish I could say I was offended, but I did put you through a lot. You still don't know about Redbeard, do you? Oh, this is going to be such a good day.

 

34\. INT. SHERRINFORD – MYCROFT'S OFFICE. DAY

 

JOHN is attentively watching the footage of EURUS's interview.

 

EURUS (V.O.)  
She smiles at you when you come home -

 

GOVERNOR  
Everyone we sent in there -

 

EURUS (V.O.)  
\- It's like a reflex -

 

GOVERNOR  
\- It's hard to describe. It's like she…

 

MYCROFT  
Recruited them.

 

EURUS (V.O.)  
Smiling is advertising.

 

GOVERNOR  
Enslaved them.

 

MYCROFT  
She's been capable of that since she was five. She's an adult now. I warned you. I ordered you.

 

GOVERNOR  
She's clinically unique. We had to try.

 

MYCROFT  
At what cost?

 

EURUS (V.O.)  
Happiness is a pop song. Sadness is a poem.

 

MYCROFT  
What cost? Tell me the worst thing that has happened.

 

GOVERNOR  
She kept suggesting to Dr. Taylor that he should kill his family.

 

MYCROFT  
And?

 

GOVERNOR  
He said it was like an earworm. Couldn't get her out of his head.

 

MYCROFT  
And?

 

GOVERNOR  
He left.

 

MYCROFT  
And?

 

GOVERNOR  
Killed himself.

 

MYCROFT  
And?

 

GOVERNOR  
His family.

 

EURUS (V.O.)  
Are you going to cry? It's okay if you cry.

 

MAN (V.O.)  
I don't need to cry.

 

EURUS (V.O.)  
I can help you cry.

 

35\. INT. SHERRINFORD – EURUS'S CELL. DAY

 

SHERLOCK is still within 3 feet of the glass.

 

SHERLOCK  
I need to know how you got out of here.

 

EURUS  
You know already. Look at me. Look at what you need to look at and not what you want to look at.

 

SHERLOCK  
Did he help you? Moriarty, did he help you? How did you get in touch with him?

 

EURUS  
Easy peasy. Did you know he was here for a while? Few weeks, I think, before you left.

 

SHERLOCK  
Before I left?

 

EURUS  
Left as the delicate term. Did you expect to ever return? If big brother hadn't missed you, was tipped off on an attack anyone could see coming from miles away, would you ever have returned? I think not. I think you would have kept hunting until there was nothing left. You did, though, and here we are, and you don't even remember me.

 

36\. INT. SHERRINFORD – MYCROFT'S OFFICE. DAY.

 

MYCROFT  
I said explicitly, no one was to talk to her alone.

 

GOVERNOR  
You spoke to her alone.

 

MYCROFT  
I know what I'm doing! I am aware of the dangers Eurus presents and am equipped to deal with them.

 

JOHN  
What dangers?

 

MYCROFT  
Eurus doesn't just talk to people. She reprograms them. Anyone who spends time with her is automatically compromised.

 

MAN (V.O.)  
That's not right.

 

EURUS (V.O.)  
I'm only trying to help you. We can help each other. Helping someone is the best way you can help yourself.

 

JOHN is horrified as he looks at EURUS on the video.

 

MAN (V.O.)  
I don't trust you.

 

JOHN  
I talked to her. I met with her a number of times. She was my therapist. She compromises everyone!

 

MYCROFT  
You don't know that, John. She was in a different environment.

 

JOHN  
No, no, no. She said those words to me. That voice. On the video. That's your voice, isn't it?

 

GOVERNOR  
It is.

 

37\. INT. SHERRINFORD – EURUS'S CELL. DAY.

 

EURUS sets down her violin again.

 

SHERLOCK  
So clearly you remember me?

 

EURUS  
I remember everything, every single thing. You just need a big enough hard drive.

 

SHERLOCK  
Tell me what you remember.

 

EURUS  
You, me, and Mycroft. Mycroft was quite clever. He could understand things if you went a bit slow, but you. You were my favorite.

 

SHERLOCK steps closer to the glass.

 

SHERLOCK  
Why was I your favorite?

 

EURUS  
Because I could make you laugh. I loved it when you laughed. Once I made you laugh all night. I thought you were going to burst. I was so happy. But Mummy and Daddy had to stop me, of course.

 

SHERLOCK  
Why?

 

EURUS  
Well, turns out I'd got it wrong. Apparently you were screaming.

 

SHERLOCK  
Why was I screaming?

 

A dog whines in the faint distance.

 

SHERLOCK  
Redbeard. I remember what happened to him.

 

EURUS  
Oh, Sherlock, you know nothing.

 

SHERLOCK  
Tell me what I don't know.

 

EURUS  
Touch the glass. Touch the glass and I'll tell you the truth.

 

38\. INT. SHERRINFORD – MYCROFT'S OFFICE. DAY.

 

JOHN is pacing and heads to the balcony.

 

MYCROFT  
I put my trust in you, my implicit trust in you as Governor of this institute.

 

39\. EXT. SHERRINFORD – BALCONY. DAY.

 

JOHN puts his hands on the balcony ledge and looks down – there's nothing but sea and rocks below. He stares at them, ominously, until he pointedly lets go and returns inside.

 

40\. INT. SHERRINFORD – MYCROFT'S OFFICE. DAY.

 

The video is still playing and MYCROFT and the GOVERNOR are still watching.

 

EURUS  
You have no idea how I could help. Bring me your wife, I'd like to meet her.

 

GOVERNOR (V.O.)  
I don't need your help.

 

EURUS  
I can fix her for you and then I'll give you her straight back, good as new, I promise.

 

GOVERNOR (V.O.)  
That's not, what you're proposing is not right.

 

JOHN  
Yeah, everyone who went in there got affected. "Enslaved," you said. You were affected. I might have been affected. Anyone she speaks to – oh, God. She's down there with Sherlock right now.

 

JOHN presses the communicator in his ear.

 

JOHN  
Sherlock?

 

41\. INT. SHERRINFORD – EURUS'S CELL. DAY.

 

EURUS and SHERLOCK are both on either side of the glass, about a foot from each other.

 

JOHN (V.O.)  
Sherlock.

 

SHERLOCK  
Not now.

 

JOHN (V.O.)  
Vatican Cameos.

 

SHERLOCK'S eyes widen but it is too late. EURUS notices and pushes on the glass – it's a door. The glass smacks SHERLOCK hard on the forehead and he falls backward. EURUS exits the cell and jumps on him, screaming while she strangles him.

 

42\. INT. SHERRINFORD – MYCROFT'S OFFICE. DAY

 

MYCROFT  
If Eurus has enslaved you, then who exactly is in charge of this prison?

 

The GOVERNOR stands and takes a clicker from inside his jacket pocket.

 

GOVERNOR  
I'm sorry.

 

He presses the button and alarms begin to sound. GUARDS come running and point weapons at JOHN and MYCROFT, who stand with their hands up (JOHN can only lift one hand, his other is in the sling). JOHN attempts to break free with his good arm but is hit in the head with the butt of a gun.

 

43\. INT. SHERRINFORD – EURUS'S CELL. DAY.

 

The alarm sounds in the cell as well, drowned out by EURUS's screaming. GUARDS enter and she looks up.

 

EURUS  
Just give us a moment, dears. It's been ages since we've played.

 

44\. INT. SHERRINFORD – CELL. DAY.

 

JOHN wakes in the bed and slowly comes to. SHERLOCK, MYCROFT, and the GOVERNOR are all also there.

 

SHERLOCK  
How are you?

 

JOHN sits up sharply and groans at the pain in his shoulder. SHERLOCK moves toward him but JOHN holds out his good arm to stop him.

 

JOHN  
No! No, I've been compromised! She'll turn me against you.

 

JOHN notices the GOVERNOR in the corner.

 

JOHN  
What's he doing here?

 

SHERLOCK  
As he is told. Eurus is in control here. What do you mean, compromised?

 

JOHN  
I had three sessions with her. An hour each. She spoke to me, she said things that she said to him that made him turn over the entire asylum to her! I can't be trusted. Sherlock, you have to get me out.

 

SHERLOCK  
No, you're not compromised.

 

JOHN  
I am!

 

SHERLOCK  
No, John. I know you for real.

 

JOHN pauses, staring at SHERLOCK with a tight mouth.

 

JOHN  
100%?

 

SHERLOCK  
Always.

 

JOHN nods and SHERLOCK nods back at him.

 

JOHN  
Right. Did you see your sister?

 

SHERLOCK  
Yes.

 

JOHN  
How was that?

 

SHERLOCK  
Family's always difficult.

 

MYCROFT  
Is the occasion for banter?

 

SHERLOCK  
Case in point.

 

The sound of a phone rings.

 

JOHN  
Are we phoning somebody?

 

SHERLOCK  
Apparently.

 

LITTLE GIRL (V.O.)  
Help me. Please, I'm on a plane and everyone's asleep! Help me!

 

The lighting changes to red, then flickers back to white.

 

LITTLE GIRL (V.O.)  
Hello, can you please help me? I'm on a plane and it's going to crash.

 

MYCROFT  
What is this? We can't do this?

 

LITTLE GIRL (V.O.)  
I can hear someone talking. Is someone there?

 

MYCROFT  
Is this supposed to be a game?

 

SHERLOCK  
Quiet.

 

LITTLE GIRL (V.O.)  
Help me.

 

SHERLOCK  
Oh, hello. Yes, I can help you. Tell me what your name is?

 

LITTLE GIRL (V.O.)  
I'm not supposed to tell my name to strangers.

 

SHERLOCK  
Of course not, very good. But I'll tell you mine. My name is –

 

The phone cuts out.

 

SHERLOCK  
Hello?

 

On the other side of a glass, a television that was just static changes to EURUS, sitting in MYCROFT's office chair.

 

EURUS  
Oh dear, we seem to have lost the connection.

 

MYCROFT  
How have you done this, how is any of this possible?

 

EURUS  
You put me in here, Mycroft. You left me to his charge – he should really have listened to you. If you're interesting enough anyone will talk to you, and if you listen, you'll know which ones are important. He was important. I made him feel important. It was easy to make him give me my treats.

 

JOHN  
What treats?

 

SHERLOCK  
Moriarty.

 

EURUS  
He was just down the way for weeks. No one to talk to. They wanted to sweat him out – that was boring. It was boring in here until I met him.

 

SHERLOCK  
The girl. Where is she? Can I talk to her again?

 

EURUS  
Poor little thing. Alone in the sky in a great big plane with nowhere to land. But where in the world is she? It's a clever little puzzle but if you want to apply yourself to it I can reconnect you but first –

 

EURUS swivels to reveal a WOMAN on the balcony, handcuffed to a chair. The GOVERNOR stands.

 

GOVERNOR  
That's my wife. That's my wife!

 

EURUS  
I told you I wanted to meet her.

 

GOVERNOR  
Oh God, that's my wife!

 

EURUS  
I'm going to shoot the Governor's wife.

 

GOVERNOR  
Oh God, please help her!

 

EURUS  
In about a minute, bang. Dead!

 

SHERLOCK  
Don't do that.

 

EURUS  
Well, you can stop me.

 

SHERLOCK  
How?

 

EURUS  
There's a gun in the hatch. Take it.

 

The hatch opens. SHERLOCK takes the gun from it.

 

EURUS  
You want to save the Governor's wife, choose either Dr. Watson or Mycroft to kill the Governor.

 

GOVERNOR  
Oh, God!

 

EURUS  
You can't do it, Sherlock. I'll kill her anyway. It has to be either our brother or your friend.

 

GOVERNOR  
You have to do this. Eurus will kill her.

 

SHERLOCK  
It doesn't appear we have a choice.

 

EURUS  
Right then. Countdown's starting.

 

SHERLOCK holds out the gun for MYCROFT to take.

 

MYCROFT  
How long?

 

EURUS  
No, no, no, the countdown is for me. Withholding the precise deadline will apply the pressure more evenly. Where possible, please give me an explicit verbal indication of your anxiety levels. I can't always read them from your behavior.

 

MYCROFT  
I can't do this. I can't, it's murder.

 

GOVERNOR  
This is not murder. It's saving my wife.

 

EURUS  
I'm particularly focused on internal conflicts, where strategizing round a largely intuitive moral code appears to create a counterintuitive result.

 

MYCROFT  
I will not kill. I will not have blood on my hands.

 

EURUS  
Yes, very good, that will do.

 

GOVERNOR  
Killing my wife is what you are doing.

 

MYCROFT  
No.

 

SHERLOCK  
Okay, fine.

 

SHERLOCK holds out the gun to JOHN. JOHN stands in parade rest and does not move.

 

SHERLOCK  
John.

 

GOVERNOR  
Eurus will kill me. Please save my wife.

 

EURUS  
There will, I'm afraid, be regular prompts to create an atmosphere of urgency.

 

The lighting shifts from white to red and back to white again, and then does it again. JOHN takes the gun and moves to the GOVERNOR.

 

JOHN  
What's your name?

 

GOVERNOR  
David.

 

JOHN  
And you're sure about this, David?

 

GOVERNOR  
Of course I'm bloody sure.

 

EURUS  
Nearly there.

 

JOHN  
Right, you want to pray or anything?

 

GOVERNOR  
With Eurus Holmes in the world, who the hell would I pray to?

 

JOHN  
You are a good man and you are doing a good thing.

 

GOVERNOR  
So are you.

 

JOHN  
I'll spend the rest of my life telling myself that.

 

JOHN lifts the gun but stalls on the trigger.

 

GOVERNOR  
Please.

 

The GOVERNOR turns around and JOHN lifts the gun to the back of his head again, but still stalls. He presses a hand into the GOVERNOR's shoulder, who startles but follows JOHN's lead and kneels. JOHN presses the gun into the back of his head.

 

JOHN  
I know that you're scared, but you should also be very proud.

 

GOVERNOR  
Just do it.

 

The lighting changes to red and back to white again. The GOVERNOR flinches with each change.

 

EURUS  
This is very good, Dr. Watson. I should have fitted you with a cardiograph. How's your shoulder doing?

 

JOHN  
Goodbye, David.

 

JOHN delays longer, the lighting changes, and then finally:

 

JOHN  
I can't. I can't do it.

 

SHERLOCK  
I know, it's all right.

 

GOVERNOR  
Please!

 

The GOVERNOR lunges for the gun and takes it out of JOHN's hand. He shakily points it at everyone else, who congregate together on the other side of the cell.

 

MYCROFT  
No!

 

SHERLOCK  
It's all right.

 

GOVERNOR  
Remember me!

 

The GOVERNOR points the gun under his chin and fires.

 

ALL  
No!

 

The body falls into the opposite corner, blood streaked against the glass. MYCROFT turns to the wall and retches. SHERLOCK looks at JOHN.


	3. Act Three

44 (CONT'D). INT. SHERRINFORD – CELL. DAY

 

SHERLOCK  
Are you all right?

 

EURUS  
Interesting.

 

SHERLOCK  
All right, there you go, you got what you wanted and he's dead.

 

EURUS  
Dead or alive, he really wasn't very interesting, but you three, you three were wonderful. Thank you. You see, what you did, Dr. Watson, specifically because of your moral code, because you don't want blood on your hands, two people are dead instead of one.

 

JOHN  
Not two people.

 

EURUS  
Yes. Sorry. Hang on.

 

EURUS swivels away and shoots the wife. When she turns around, the wife is dead.

 

JOHN  
Oh Christ!

 

EURUS  
What advantage did your moral code grant you? Is it not in the end selfish to keep one's hands clean at the expense of another's life?

 

JOHN  
You didn't have to kill her.

 

EURUS  
The condition of her survival was that either you or Mycroft had to kill her husband. This is an experiment. There will be rigor. Sherlock, pick up the gun. It's your turn next. When I tell you to use it, and I will, remember what happened this time.

 

SHERLOCK  
What if I don't want the gun?

 

EURUS  
Oh, the gun is intended as a mercy.

 

SHERLOCK  
For whom?

 

EURUS  
You. If someone else had to die would you really want to do it with your bare hands? It would waste time and things are finally not boring.

 

JOHN  
Probably just take it.

 

SHERLOCK takes the gun and checks the chamber.

 

SHERLOCK  
There's only one bullet left.

 

EURUS  
You will only need one, but you will need it.

 

The side door opens and four GUARDS with guns come in. SHERLOCK lifts the gun, but the three train their own on MYCROFT, SHERLOCK, and JOHN, who back away. The other takes the GOVERNOR's body out of the room, a smear of blood dragging in his wake. As the GUARDs back out, one of them leaves a file folder on the table.

 

EURUS  
Now let's continue, shall we, there's a few tasks I'd like to ask of you and there's a girl on a plane who is getting very, very scared. As a motivator to your continued cooperation, I'm now reconnecting you.

 

LITTLE GIRL (V.O.)  
Are – are you still there?

 

SHERLOCK  
Yes, hello. Hello, we're still here. Can you still hear us?

 

LITTLE GIRL (V.O.)  
Yes.

 

SHERLOCK  
Everything's going to be all right, I just need you to tell me where you are. Outside is it day or night?

 

LITTLE GIRL (V.O.)  
Night.

 

MYCROFT  
That certainly narrows it down to half the planet.

 

SHERLOCK  
What kind of plane are you on?

 

LITTLE GIRL (V.O.)  
I don't know.

 

JOHN  
Is it big or small?

 

LITTLE GIRL (V.O.)  
Big.

 

JOHN  
Lots of people on it?

 

LITTLE GIRL (V.O.)  
Lots and lots, but they're all asleep. I can't wake them up.

 

SHERLOCK  
Where did you take off from?

 

LITTLE GIRL (V.O.)  
And the driver's asleep.

 

SHERLOCK  
No, I understand, but where did you come from? Where did the plane take off?

 

LITTLE GIRL (V.O.)  
My nan's.

 

SHERLOCK  
And where are you going?

 

LITTLE GIRL (V.O.)  
Home.

 

SHERLOCK  
No, I mean what airport.

 

EURUS  
Enough for now! Time to play a new game. Look on the table in front of you. Open the envelope. If you want to speak to the girl again, earn yourself some phone time!

 

SHERLOCK opens the folder and pulls out four photographs, one of a man with a target on it, one with pictures of three similar men.

 

MYCROFT  
This is inhuman, this is insane!

 

JOHN  
Mycroft, we know.

 

EURUS  
Six months ago a man named Evans was murdered. Unsolved, except by me. He was shot by a distance of 300 meters with a rifle. This rifle.

 

The hatch opens again and SHERLOCK takes an unloaded rifle from it. He looks it over.

 

EURUS  
Now if the police had any brains, they'd know there were only three suspects, Nathan Garrideb, Alex Garrideb, and Howard Garrideb. All of these photos are up to date, but which one pulled the trigger, Sherlock? Which one?

 

JOHN  
What's this? We're supposed to solve this, based on what?

 

SHERLOCK  
This is all we get.

 

EURUS  
Please, make use of your friends, Sherlock. I want to see you interact with people you're close to. Also, you may have to choose which one to keep.

 

SHERLOCK turns to MYCROFT first.

 

SHERLOCK  
What do you make of it?

 

MYCROFT  
Am I being asked to prove my usefulness?

 

SHERLOCK  
Yes, I should think you are.

 

MYCROFT  
I will not be manipulated like this.

 

SHERLOCK  
Fine, John. John?

 

JOHN takes the rifle from SHERLOCK.

 

JOHN  
Yeah, I think I've seen one of these. It's a buffalo gun. I'd say 1940's, old fashioned sight. No crosshairs.

 

SHERLOCK  
Glasses, glasses. Nathan wears glasses. Evans was shot from 300 meters – the kickback from a gun with this caliber –

 

45\. MIND PALACE – DAY

 

NATHAN, wearing glasses, is looking through the sight.

 

SHERLOCK  
The kickback from a gun with this caliber –

 

NATHAN fires the gun and the butt goes through his glasses.

 

46\. INT. SHERRINFORD – CELL. DAY

 

SHERLOCK taps the photo of Nathan.

 

SHERLOCK  
\- Would be massive. No cuts, no scarring. Not Nathan, then.

 

MYCROFT  
Well done, Dr. Watson, how useful you are. Did you have a suspicion we'd be made to compete?

 

JOHN  
No, we're not competing. There's a plane in the air that's going to crash, so what we're doing is actually trying to save a little girl.

 

MYCROFT  
How noble of you.

 

JOHN  
Well you couldn’t pull the trigger either.

 

MYCROFT  
Your priorities do you credit.

 

JOHN  
No, my priorities just got a woman killed. We're soldiers, today, Mycroft, and we have to start acting like it.

 

EURUS  
Now as I understand it, Sherlock, you try to repress your emotions to refine your reasoning. John wants to be a solider, as he says, so tell me, what happens to soldiers in the line of duty?

 

The door opens again and three of the guards return, pointing a gun at each of them in turn.

 

EURUS  
Tell me who did it, Sherlock, or someone will be lost by firing squad. I'd like to see the changes to your mental capacity when a consequence is presented.

 

MYCROFT  
So what if we don't want to play along?

 

EURUS  
I have given you, as you recall, a specific motivation.

 

LITTLE GIRL (V.O.)  
We're going through the clouds, like cotton wool.

 

SHERLOCK  
Oh, that's nice. Try to tell me more about the plane.

 

LITTLE GIRL (V.O.)  
Why won't my mummy wake up?

 

The line goes back to static and SHERLOCK looks at JOHN, who is staring at the GUARDS. SHERLOCK returns to the photos.

 

SHERLOCK  
So it's got to be one of the other two. Now, Howard. Howard's a lifelong drunk judging by the pallor of his skin, terminal gin blossoms on his red nose. His hands would shake too much – there's no way he could have taken that shot from 300 meters away. So that leaves us with Alex. Indentations on the temple suggests he habitually wears glasses. Frown lines suggest a lifetime of peering.

 

MYCROFT  
He's short sighted, or he was. His recent laser surgery's done the trick.

 

The light changes from white to red again.

 

EURUS  
Quickly now.

 

SHERLOCK  
Laser surgery?

 

MYCROFT  
Look at his clothes. They're all just on the town, but he's made an effort.

 

JOHN  
That's very good.

 

SHERLOCK  
Excellent. Suddenly he sees himself in quite a different light now that he's dumped the specs. He even has a spray tan, but he's clearly not used to his new personal grooming ritual. That can be told by the state of his fingernails and the hair growing in his ears. So it's a superficial job then. But he got his eyes fixed, his hands were steady. He did it. He killed Evans.

 

EURUS  
Good! Now we really need to move on – you were good enough not to face the firing squad, but you still have a decision to make. Boys. Leave. Now.

 

The GUARDS exit via the door they entered.

 

EURUS  
Let's play by the rules going forward, shall we?

 

SHERLOCK  
If we're playing by the rules, I'm owed a minute with a little girl.

 

EURUS  
Yes, I suppose.

 

LITTLE GIRL (V.O.)  
I'm frightened. I'm really frightened.

 

SHERLOCK  
I know, it's okay. Listen I don't have very long with you so I just need you to tell me what you can see outside the plane.

 

LITTLE GIRL (V.O.)  
Just the sea. I can see the sea.

 

SHERLOCK  
Are there ships on it?

 

LITTLE GIRL (V.O.)  
No ships. I can see lights in the distance.

 

SHERLOCK  
Is it a city?

 

LITTLE GIRL (V.O.)  
I think so.

 

MYCROFT  
She's about to fly over a city in a pilot-less plane. We'll have to talk her through it.

 

JOHN  
Talk her through what?

 

LITTLE GIRL (V.O.)  
Hello, are you still there?

 

SHERLOCK  
Still here, just give us a moment.

 

MYCROFT  
Getting the plane away from any mainland, any populated areas. It has to crash into the sea.

 

JOHN  
What about the girl?

 

MYCROFT  
Well, obviously, Dr. Watson, she's the one who's going to crash it.

 

JOHN  
No. She's a little girl. We can help her land it.

 

MYCROFT  
And if we fail and she crashes into a city? How many will die then?

 

JOHN  
How are we going to get her to do that?

 

MYCROFT  
I'm afraid we're going to have to give her hope.

 

SHERLOCK  
Is there really no one there that can help you? Have you really, really checked?

 

LITTLE GIRL (V.O.)  
Everyone's asleep. Will you help me?

 

SHERLOCK  
We're going to do everything that we can.

 

LITTLE GIRL (V.O.)  
I'm scared. I'm really, scared.

 

SHERLOCK  
It's all right.

 

The phone cuts out again.

 

EURUS  
Now, back to the matter at hand. Sherlock, we had a night together recently, you and I, didn't we?

 

SHERLOCK  
Yes, so you said. You left me a letter with a message coded in Linseed –

 

EURUS  
\- Oil, yes. Good, but I wasn't the only one who gave you a letter, did I?

 

JOHN looks up.

 

EURUS  
You made me wait so long before you would speak to me. I don't think you even noticed me noticing. There was another letter on the desk –

 

47\. INT. BAKER STREET – WEEKS AGO. NIGHT

 

EURUS AS FAITH sits in the client chair. SHERLOCK holds FAITH's letter in his hand, his eyes closed, his mouth slack. EURUS looks at the desk. CLOSE UP ON a letter, crumbled within an inch of its life but opened flat on top of a stack of papers.

 

48\. INT. SHERRINFORD – CELL. DAY

 

EURUS is still on the screen.

 

EURUS  
\- Sadly you didn't give me time to read it, but the author and the intent was clear enough. It had been crumpled and thrown out three times, and each time was meticulously picked out of the bin before collection and brought back to the desk. What did it say?

 

SHERLOCK  
No, Eurus. We're not playing this game.

 

EURUS  
But we are, brother mine. Problem: someone is about to die. So many days not lived, so many words unsaid, et cetera, et cetera, et cetera, et cetera – emotional context, Sherlock, it destroys you. How does it go, big brother? About caring?

 

MYCROFT  
All lives end. All hearts are broken. Caring is not an advantage.

 

EURUS  
But look at you, Sherlock. Look at the note you kept. What did it say that warranted such emotion?

 

JOHN  
Sherlock.

 

EURUS  
Yes, I believe that's how it started. Come now, you know what it says. Share with the rest of us – share it with your family. We're here to support you when you're left out in the cold, or, at least that's what they told us we should do.

 

SHERLOCK sits on the floor against the wall, his forearms resting on his knees, staring at the floor. The gun lies several feet away where he's dropped it.

 

EURUS  
Do I need to provide some motivation? Because it won't be a threat of a firing squad, I will shoot Dr. Watson in the face and you will watch it happen. What did the note say?

 

SHERLOCK  
Never. Again.

 

EURUS  
Good. What else? There were more than two words.

 

JOHN  
Don't make him do this. Sherlock, about the note – I'm –

 

SHERLOCK  
No, John. You were right.

 

JOHN  
I was grieving. I lost my wife, my daughter lost her mother. I had to place the blame somewhere and it was easier to put it on you than her.

 

SHERLOCK  
It's fine. It was true.

 

JOHN  
It wasn't, Sherlock. I told you I never wanted to see you again. I told you to disappear and never return. I told you – I told you I'd rather see anyone but you. You know that's not true.

 

EURUS  
That sounds right. And what now, Dr. Watson? What do you have to say to him now?

 

JOHN takes the gun and turns to the television screen where EURUS is watching with rapt attention.

 

JOHN  
No. Not like this. It's not a game.

 

EURUS  
Do I need to remind you of your motivation? You have a daughter, Dr. Watson.

 

JOHN's face blanches.

 

LITTLE GIRL (V.O.)  
Please. Are you still there? I'm scared.

 

EURUS  
She may be a bit young for this particular situation, but give it a few years and I'm sure I can find a plane for her to wake up on too.

 

JOHN  
You –

 

EURUS  
Say it, Dr. Watson. Tell him what you mean.

 

JOHN  
Why?

 

EURUS  
It's an experiment, and Sherlock is my favorite, and I need to understand him to know what decision he'll make. I know how he feels about our brother – I had plenty of time to make that deduction, but you, Dr. Watson, are still an enigma to me. You appear as though you relish your time with him, you waste away when he is not there, but when he is, you do nothing to express that he means anything to you. You married a woman you did not love and placed her death on him because it was convenient. Why?

 

JOHN  
How do you know this?

 

EURUS  
I made a friend. He was my first friend. When we were together he showed me his surveillance of your flat. There's nothing easier than monitoring surveillance in a flat from inside Sherrinford, and I desperately wanted to not be bored. Do you know how boring it gets here?

 

JOHN  
I don't care that you are bored. If you are even a fraction as intelligent as they thought you were, you would know why they had to put you here. You didn't need to manipulate others to get out, you just needed to redeem yourself.

 

EURUS  
Yes but where's the fun in that?

 

MYCROFT  
Eurus, this isn't a game we wish to play.

 

EURUS  
It's too late. You've already played. People are dead and that is on you. It's almost time for the final game, but we need to finish here first. Tell him what you wanted to say, Dr. Watson.

 

SHERLOCK looks up, his head against the wall, and stares at JOHN.

 

EURUS  
Look, he wants you to say it.

 

JOHN  
Sherlock, not now. Not here. This isn't how we were supposed to do this.

 

SHERLOCK  
When were we going to do this?

 

JOHN  
Never.

 

SHERLOCK  
Exactly.

 

JOHN  
You, then. You first. Like you mean it.

 

SHERLOCK  
I do mean it.

 

JOHN  
If I have to say it, so do you.

 

SHERLOCK  
I love you.

 

JOHN, still holding the gun, presses his hand to his forehead and sighs. He's lost it.

 

EURUS  
Your turn, Dr. Watson. Say it.

 

JOHN  
No. No, I can't. Not like this.

 

EURUS  
Do I need to send the guards back in? Do I need to find Rosie and send her in?

 

JOHN  
No! No, Christ – Christ, Sherlock, I love you.

 

SHERLOCK closes his eyes.

 

EURUS  
Good. Now give the gun back to Sherlock. I'll give you your reward and then it's time. Time for the final game.

 

JOHN walks over and hands the gun to SHERLOCK. Their hands do not touch, but they stare into each other's eyes and hold the gun for several seconds.

 

LITTLE GIRL (V.O.)  
Are you still there?

 

SHERLOCK stands.

 

SHERLOCK  
Yes, I'm here.

 

LITTLE GIRL (V.O.)  
The city, it's getting closer.

 

SHERLOCK  
Can you do me a favor? Can you go to the driver?

 

LITTLE GIRL (V.O.)  
I'm scared.

 

SHERLOCK  
I know you're scared. We are all scared. Can you go sit with the driver?

 

LITTLE GIRL (V.O.)  
Okay.

 

EURUS  
That's enough. Just one more game for today, Sherlock. Only two can play the next game. Just two of you can go on from here. It's make-your-mind-up time. Whose help do you need the most: John or Mycroft? It's an elimination round. You choose one and kill the other. You have to choose, family or friend. Mycroft or John Watson.

 

MYCROFT  
Eurus, enough.

 

EURUS  
Nearly, but not yet. Remember, there's a plane in the sky that's going into the sea.

 

JOHN  
Well?

 

SHERLOCK  
Well what?

 

JOHN  
We're not actually going to discuss this, are we? This is brains game, Sherlock, and you need your brother.

 

MYCROFT  
What?

 

SHERLOCK  
John –

 

JOHN  
I said it. I told you what you wanted to hear and here we are. Now we know how it feels, and this is it for us. I can't compare to Mycroft Holmes. Look at me. What am I? Nothing more than a distraction, a little scrap of ordinariness for you to impress, to dazzle with your cleverness. You'll find another.

 

SHERLOCK  
Please, for God's sake, just stop it.

 

JOHN  
This is about your family, Sherlock.

 

SHERLOCK  
You are my family.

 

JOHN  
No. Not really.

 

SHERLOCK lifts the gun and points it at Mycroft.

 

JOHN  
Sherlock, don't.

 

MYCROFT  
Not in the face, please. I promised my brain to the Royal Society.

 

JOHN  
No, I won't allow this.

 

MYCROFT  
It's not up to you. This is my fault. I brought Jim Moriarty here. I thought it would be the best place to contain him. I was wrong.

 

SHERLOCK hesitates.

 

MYCROFT  
Goodbye, brother mine.

 

The light changes to red.

 

EURUS  
I didn't think you'd make this choice. How is Dr. Watson more important than Mycroft? How is he more important than your brother, your family?

 

JOHN  
I'm not.

 

EURUS  
Have you had sex, Sherlock?

 

SHERLOCK flinches.

 

EURUS  
Obviously not, then. How do you know? How do you know Dr. Watson's life is more important? He just said words. Anyone can say words. I love you, Sherlock. They don't mean anything. How can words justify Holmes killing Holmes?

 

SHERLOCK is still hesitating. The light turns back to white and he lowers the gun.

 

SHERLOCK  
No. I can't.

 

EURUS  
Don't make me choose for you, Sherlock. You won't like it.

 

SHERLOCK  
I can't kill either of them.

 

EURUS  
Fine.

 

The door to the hall opens and the three GUARDS come in.

 

SHERLOCK  
No!

 

One of the GUARDS shoots JOHN.

 

SHERLOCK  
No! Not John, not John!

 

JOHN collapses into a heap on the floor, and one of the GUARDS drags him away. There is no blood.

 

SHERLOCK  
JOHN! JOHN!

 

SHERLOCK brings the gun to his own chin.

 

EURUS  
What are you doing?

 

SHERLOCK Not long ago a man asked us to remember him. I'm remembering the Governor. Ten.

 

EURUS  
No, no, Sherlock.

 

SHERLOCK  
Nine. Eight.

 

EURUS  
You can't, that's not how we play.

 

SHERLOCK  
Seven. Six.

 

EURUS  
You don't know about Redbeard yet. You think he was your dog?

 

EURUS  
Nathan, Alex. Shoot them.

 

The GUARDS shoot MYCROFT and JOHN; they're clearly tranquilizer darts; JOHN and MYCROFT fall to the ground. SHERLOCK falls backward into black tar, and sinks under.

 

49\. INT. SHERRINFORD CELL. NIGHT SHERLOCK awakes several hours later on top of a table in a different cell. He's alone.

 

SHERLOCK  
John?

 

LITTLE GIRL (V.O.)  
Hello? Where have you been?

 

SHERLOCK  
Oh, hello. Are you at the front of the plane now?

 

LITTLE GIRL (V.O.)  
Yeah, but I still can't wake the driver up.

 

SHERLOCK  
That's okay. What can you see now?

 

LITTLE GIRL (V.O.)  
I can see a river. There's a big wheel.

 

SHERLOCK begins scouring the walls. Something about this cell looks familiar – it's not the same cell he was in with the GOVERNOR, JOHN, and MYCROFT. His eyes land on something under the bed.

 

SHERLOCK  
All right, well you and I will have to drive this plane together. Just you and me.

 

LITTLE GIRL (V.O.)  
We are?

 

SHERLOCK  
Yeah, there's nothing to it. We just need to get in touch with some people on the ground. Now, can you see anything that looks like a radio?

 

SHERLOCK reaches under the bed and pulls out the violin EURUS was playing earlier. This is her cell. His eyes dart to the glass.

 

LITTLE GIRL (V.O.)  
No.

 

SHERLOCK  
That's all right, but we – keep looking. We've got plenty of time.

 

The LITTLE GIRL screams.

 

SHERLOCK  
What's the matter?

 

LITTLE GIRL (V.O.)  
The whole plane's shaking.

 

SHERLOCK  
That's all right, it's just turbulence. It's nothing to worry about.

 

LITTLE GIRL (V.O.)  
My ears hurt.

 

SHERLOCK  
Does the river look like it's getting closer?

 

LITTLE GIRL (V.O.)  
A little bit.

 

SHERLOCK approaches the glass and places his hand on it.

 

SHERLOCK  
That's good, that means you're nearly home. Now, how long have you been up in this plane?

 

LITTLE GIRL (V.O.)  
I don't know. Forever.

 

SHERLOCK  
And we've been talking that long, haven't we? Forever?

 

LITTLE GIRL (V.O.)  
Yes, I suppose. Ahh! It's leaning over. The whole plane!

 

SHERLOCK  
It's okay. I think it's about time you told me your name, isn't it?

 

LITTLE GIRL (V.O.)  
I'm not supposed to tell my name to strangers.

 

SHERLOCK  
Yes, but we're not strangers, are we? You know how to sing, don't you? Why don't you sing me a song?

 

LITTLE GIRL (V.O.)  
_Okay. Okay. I that am lost, oh who will find me? Deep down below the old beech tree. Help succor me now the east winds blow. Sixteen by six, brother, and under we go._

 

50\. EXT. MUSGRAVE MANOR. NIGHT

 

SHERLOCK runs to the gravestones and looks at the date.

 

SHERLOCK  
Yes, the song is a code.

 

LITTLE GIRL (V.O.)  
_Be not afraid to walk in the shade. Save one, save all, come try. My steps, 5 by 7. Life is closer to heaven, look down with dark gaze from on high._

 

SHERLOCK stares at the gravestones and numbers pop out at him from the inaccurate dates of the deceased. The words populate on the screen with numbers above them.

 

LITTLE GIRL (V.O.)  
_Before he was gone right back over my mill, who now will find him? Who absolutely will. Death shall be going to him, almost of clean. Lost here master, 9 by 19. Without your love, he'll be gone before. Save pity for strangers, show love the door. My soul seeks the shade of my willows bloom inside. Brother mine – let death make a room._

 

SHERLOCK  
The gravestones. The numbers are the words in the song.

 

The text rearranges on screen: I AM LOST. HELP ME BROTHER BEFORE MY DOOM. HE'LL BE GONE. SEEK ME OUT.

 

SHERLOCK  
Redbeard.

 

EURUS (V.O.)  
You searched for hours.

 

SHERLOCK  
I dug and dug and dug. Sixteen feet, sixteen yards, sixteen meters.

 

EURUS (V.O.)  
And you found no one.

 

SHERLOCK  
Victor. Victor Trevor. We played pirates – I was Yellowbeard and he was Redbeard.

 

51\. EXT. MUSGRAVE MANOR. SHORE.

 

7-YO SHERLOCK plays on the beach. 6-YO EURUS watches, clutching her plush car, sour. 7-YO SHERLOCK runs through the water, VICTOR TREVOR running in his wake.

 

7-YO SHERLOCK  
Come on, Redbeard!

 

SHERLOCK's face flashes in a black screen, disappears, is replaced with 7-YO SHERLOCK, and then again. There is water marks over their skin as the change.

 

52\. INT. SHERRINFORD – EURUS'S CELL. NIGHT.

 

EURUS  
Deep waters, Sherlock, all your whole life, in all your dreams, deep waters.

 

SHERLOCK  
You killed him. You killed my best friend.

 

EURUS  
And I'll do it again.

 

SHERLOCK  
Not this time.

 

SHERLOCK presses on the glass. The door opens. He runs to the elevator.

 

53\. INT. SHERRINFORD – MYCROFT'S OFFICE. NIGHT.

 

SHERLOCK runs down the hallway and enters the room. EURUS is sitting on the floor near the door to the balcony, her legs pulled tight to her chest. SHERLOCK runs in and stops in front of her.

 

SHERLOCK  
Eurus.

 

EURUS looks up.

 

SHERLOCK  
I'm here, Eurus.

 

EURUS  
You're playing with me, Sherlock. You're playing the game.

 

SHERLOCK  
You're right, I'm playing the game. The song was never a set of directions.

 

EURUS  
I'm the plane. It's going to crash and you're going to save me. I don't know how to get to the ground.

 

SHERLOCK  
Look at how brilliant you. You're so far away from us, but I'm on the ground. I can bring you home.

 

EURUS  
No. No, it's too late now.

 

SHERLOCK  
It's not too late.

 

EURUS  
Every time I close my eyes, I'm on the plane. I'm lost and no one can hear me.

 

SHERLOCK  
Open your eyes. I'm here. You're not lost anymore.

 

SHERLOCK takes her in his arms and she cries.

 

SHERLOCK  
Now, you just went the wrong way last time, that's all. This time it doesn't have to be like that. Tell me how to save John.

 

EURUS looks to the door. SHERLOCK looks over and leaps up. EURUS sinks back into herself and shuts her eyes as SHERLOCK throws open the door.

 

54\. INT. SHERRINFORD – ADJACENT OFFICE. NIGHT.

 

SHERLOCK enters to find JOHN, conscious but in pain, lying on the floor of the adjacent office. MYCROFT is still unconscious, but is upright in one of the chairs.

 

JOHN  
Sherlock!

 

SHERLOCK dashes to his side and looks him over.

 

SHERLOCK  
You're not hurt? For God's sake say that you are not hurt!

 

JOHN  
Sherlock. Sherlock, look at me.

 

SHERLOCK looks directly at JOHN.

 

JOHN  
I'm okay. It was a tranquilizer. Where's Eurus?

 

SHERLOCK realizes his mistake and looks back at the door.

 

SHERLOCK  
Wait here.

 

SHERLOCK runs back to MYCROFT'S office.

 

55\. INT. SHERRINFORD – MYCROFT'S OFFICE. NIGHT.

 

The room is empty but the door to the balcony is open. SHERLOCK runs –

 

56\. EXT. SHERRINFORD – BALCONY. NIGHT

 

SHERLOCK peers over the side of the balcony. EURUS's body is crushed on the rocks below. SHERLOCK sinks to his knees and begins to cry.

 

57\. INT. SHERRINFORD COMMAND. NIGHT.

 

SHERLOCK sits in between JOHN and MYCROFT.

 

JOHN  
You okay?

 

SHERLOCK  
I said I'd bring her home. I couldn't do that.

 

JOHN  
Well, you gave her what she was looking for. Context.

 

SHERLOCK  
Is that good?

 

JOHN  
It's not good, it's not bad. It is what is it is.

 

58\. INT. MYCROFT'S OFFICE. DAY

 

MYCROFT sits at his desk. SHERLOCK stands at the back of the room; their PARENTS sit at the desk between them.

 

MRS. HOLMES  
You two look like you've been put through the ringer.

 

MYCROFT  
That's exactly why we asked you here, Mummy. To tell us how we look.

 

MRS. HOLMES  
Well you asked us here for some reason. Did one of you get shot again?

 

SHERLOCK  
Yes, several times.

 

MRS. HOLMES  
Well you're both upright, so that's the best I can hope for, I suppose. Come now, Mycroft. Why are we here?

 

MYCROFT stares at SHERLOCK, who waits.

 

MYCROFT  
It's about Eurus.

 

There is an eerie silence in the room.

 

MR. HOLMES  
Eurus has been dead for decades.

 

MYCROFT  
Yes. So Uncle Rudi said.

 

MRS. HOLMES  
Has she been alive? What is going on, Mycroft? You keep your secrets and that's fine with me. I don't want to be part of them, but when they concern your sister and our daughter –

 

MYCROFT  
What Uncle Rudi did, I thought it best to continue.

 

MRS. HOLMES  
I'm not asking you how you did it, you idiot boy, I'm asking how could you?

 

MYCROFT  
I thought it kind –

 

MRS. HOLMES  
Kind? Our daughter is dead!

 

MYCROFT  
Yes.

 

MRS. HOLMES  
Sherlock. What do you know? Is this true?

 

SHERLOCK  
Yes.

 

MRS. HOLMES looks at MYCROFT again and SHERLOCK closes his eyes.

 

59\. INT. BAKER STREET RUINS. DAY

 

JOHN and SHERLOCK begin to clean the wreckage of their flat. JOHN unpackages new headphones for the blackened cow skull and places them atop. SHERLOCK turns over his chair; the frame is intact but the cushions are ruined.

 

OTHERS begin to help, sweep up rubble and repaper the walls. JOHN draws the circle again while MRS. HUDSON grimaces at the sight of it. MOLLY brings new curtains. LESTRADE brings case files; the topmost one reads THE LOST PEARL OF THE BORGIAS. The room becomes familiar again.

 

JOHN and SHERLOCK sit in their new chairs, facing each other. They are silent. It's broken up by a gurgling from the hallway; MRS. HUDSON is there holding ROSIE.

 

JOHN  
Ah, Rosie.

 

MRS. HUDSON hands over the baby. JOHN winces, just slightly, as he holds her with two hands. SHERLOCK leans forward, one hand on JOHN'S knee, the other tickling under Rosie's chin.

 

MRS. HUDSON  
The yellow smile I can handle, but I wish you hadn't shot the wallpaper again.

 

SHERLOCK  
Ah, well, I wanted it to be home.

 

MRS. HUDSON  
It will always be your home, boys. There's always a place where people can go when they're lost or down on their luck. This is where they find you. The Baker Street boys.

 

JOHN smiles at SHERLOCK.

 

MRS. HUDSON  
So, what do you think, then, Doctor Watson? Is it time to turn the upstairs room into a nursey?

 

JOHN  
Yes, I think so.

 

MRS. HUDSON  
And you? Will you be needing two bedrooms?

 

JOHN looks over at SHERLOCK apprehensively. MRS. HUDSON is looking at SHERLOCK'S hand on JOHN'S knee.

 

SHERLOCK  
Of course we won't be needing two.

 

MRS. Hudson titters and leaves to the kitchen to make tea. SHERLOCK leans back and watches JOHN and ROSIE, his eyes alight just like the fire between them. The camera pans back and –

 

BLACK.

**Notes for the Chapter:**

> Someone made a fan art for the I love you scene. IT'S AMAZING. [Go look at it right now!!!](http://wingslikestainedglass.tumblr.com/post/160563803338/hi-folks-after-the-disappointment-that-was-the)


End file.
